My grandparents' home in Kuala Lumpur

I've just got home from two weeks spent in Malaysia catching up with my grandparents and family in Kuala Lumpur, 'backpacking' to Singapore and relaxing by the sea in Penang. I wanted to document their house and the wonders it contains, with beautiful midcentury furniture in abundance and more tropical plants and succulents than you can count. Whilst we were there we celebrated by Ah Mah's (grandma) 88th birthday, a particularly lucky one due to the superstition in Chinese culture for the number eight. My Ah Kong (grandpa) turned 90 in January.

Grande Jorasses

Last weekend my mum and my sister opened their brand new venture The Gallery William's Yard in Melbourne, Derbyshire to wonderful response, it was a really great opening weekend and everybody who popped by was really positive about how the gallery looked and the work on display. Perhaps it was the excitement of the weekend but after catching sight of the above painting during the hanging on the morning of the opening and then admiring it for the rest of the day, Dulcie and I felt unable to restrain ourselves and have thus acquired our very first piece of art. The painting is by sheffield artist Joe Mallia, whose work draws its inspiration from his other pursuit, mountaineering, and there was just something about the colours and Ruscha-esque imagery and also the particular choice of framing that drew us to it. The painting is of the north face of the Grande Jorasses mountain in the Western alps. He's got a number of works on show at the gallery and will also be running photography and art workshops alongside my mum. If you around the area pop by and check it out, it's definitely worth a visit!

Modern living

All images from The 1960s Home by Paul Evans.

Collecting

Broodthaers's deep attraction to the forms of the outmoded has been remarked upon by his various critics. His system of references focuses mainly on the nineteenth century, be they to the Ingres or Courbets in the first manifestation of his museum, or to the example of Baudelaire and Mallarmé for his books and exhibitions, or to the panorama and the winter garden as his models for social spaces. In fact, as Benjamin Buchloh has commented, this "altogether dated aura of nineteenth century bourgeois culture that many of his works seem to bring to mind might easily seduce the viewer into dismissing his work as being obviously obsolete and not at all concerned with the presuppositions of contemporary art."

But what Crimp is suggesting is that the power Walter Benjamin invested in the outmoded should be acknowledged in the Broodthaers's use of it - as in his assumption of the form of the "true" collector. This was a power Benjamin hoped his own prospecting in the historical grounds of the nineteenth century forms would be able to release. Writing of his own Paris Arcades project, he said: "We are here constructing an alarm clock that awakens the kitsch of the past century into 're-collection.'" That Benjamin's archaeology was retrospective was a function of the fact that he believed its view could open up only from the site of obsolescence. As he remarked: "Only in extinction is the [true] collector comprehended."

Rosalind Krauss - "A Voyage on the North Sea", p.42

Images of Marcel Broodthaers's Un jardin d'hiver, 1974. Top image from here, which is quite fun!

Walking the high line

On the Guardian's homepage today was a story about the opening of the second phase of New York's High Line park. I'd read about this project a couple of months ago in Frieze magazine, in which the New York authorities have turned the disused High Line railway which runs down the west side of Manhattan into a public space, transforming the once overgrown rail tracks into a kind of faux-overgrown leisure space. It's quite interesting how they've created this artificial sense of nature reclaiming an urban space that had become long forgotten, essentially mimicking what the High Line had become - captured in a series of images by Joel Sternfield at the turn of the century - but with nice clean walkways to stroll down.

Tennis

Yesterday, whilst taking a break from manning the stall at the book fair, I came across a book by Giasco Bertoli consisting of a series of photographs of abandoned tennis courts, a set of melancholic images reflecting on these disused, unloved spaces. These spaces of leisure were varied in their location, from inner-city to holiday resorts, all are united in their conspicuous absence of activity. After seeing these images and watching the French Open Final today I have to say I'm quite keen to get out on a court and have a knock around...

Quiche!

Today we held a book fair at X Marks the Bokship in Bethnal Green, exhibiting the publications we've produced over the past four months in the AND Publishing workshop. I managed to sell a couple and Eleanor from the Bokship even asked to stock one of my books in the shop!

Reflection

A little sneak peek at a series of photographs I've been working on, looking at plant life and flora within the urban environment. I've been attempting to create a sense of ambiguity with the framing of the shot, and it is a continuation of this idea of the in-between that I've been interested in for some time now. I've been starting to realise that my work needs a more systematic approach and a sense of a framework that would be given by undertaking a more specific project, and this is something I will be attempting to address over the coming months before my final year...

Book fair

This Saturday I'll be joining my Unit 6 group in presenting our publications at X Marks the Bokship in Bethnal Green, an independent art book shop which does much to promote self publishing with various talks and events. They've ben kind enough to host our event so if your in the area pop by and check it out!

A return to form

I first saw Walead Beshty's work at the Tate Trienniel a couple of years back, where curator Nicolas Bourriaud had selected a number of his photogram works alongside his glass Fed Ex boxes as part of the exhibition. The show, which attempted (whilst not quite succeding) to propose a new stage in the trajectory of postmodernism - Altermodern - essentially brought together a large number of artists loosely connected by their work's capacity to address the globalised world we inhabit today. Seen in this context it is easy to see why Beshty was chosen, his photograms alluding to the X-Ray machines encountered at Airport security checks - indeed, this is how they are made, with negatives being passed through the machines and then prints being made from the results - and the Fed Ex boxes an obvious symbol of trade and globalised travel, their transit to and from exhibitions leaving visible traces in the gradual cracking of the glass boxes.

Beyond this Beshty's works addresses the wider questions of medium, specifically in his case the medium of photography. His work, particularly the photograms and also his other camera-less work made in the darkroom, forms part of a dialogue with a number of artists whose practice involves photography who are dealing with the question of medium and form, a seemingly outdated concern associated with Clement Greenberg and modernist painting. Yet it would seem that these old arguments are coming to the fore with photography (consider Michael Fried's recent book on photography), a medium that is by nature ambiguous and is perhaps still having to assert itself amongst a portion of the art world - indeed, the title of Fried's book, Why Photography Matters As Art As Never Before, almost parodies (unintentionally, of course) photography's contested status as an artistic medium.

It is this ambiguity of the nature of photography - what it actually is - that is perhaps leading to these formal explorations. Beshty states that photography is essentially a type of medium, "constituted by a dialectic of applied use and technological development" that is "in a state of constant revision". With the advent of digital technology posing fresh questions about the indexical nature of the photographic image and assigning analogue photography to a specific moment in history, categorised and reference-able, it would appear that these explorations of medium are only just beginning to be rethought.